Космос в логосе: транслингвальная поэзия Эдуарда Мижита и Бахыта Каирбекова

Olga Aleksandrovna Valikova; Bakytgul Ersainovna Shagimgereyeva; Sheker Avdyevna Kulieva

doi:10.25178/nit.2020.4.16

Authors

Olga Aleksandrovna Valikova Peoples’ Friendship University of Russia
Bakytgul Ersainovna Shagimgereyeva Peoples' Friendship University of Russia
Sheker Avdyevna Kulieva Peoples' Friendship University of Russia https://orcid.org/0000-0001-8682-0891

DOI:

https://doi.org/10.25178/nit.2020.4.16

Keywords:

translingualism; Russian-language literature; Tuvan poetry; Kazakh poetry; Eduard Mizhit; Bakhyt Kairbekov

Abstract

This article examines the issues of literary translingualism in its Russian-Tuvan and Russian-Kazakh representations. National literatures, which are sustained by the ethnogenetic “soil” of the authentic culture of an ethnic group, can be described in modern terminology as translingual, Russian-speaking and Russophonic (U. M. Bakhtikireeva). Although its external form is indeed Russophonic, the literary text keeps transmitting into the external communicative space primary cultural codes (basic concepts), which are elements of the national world picture.

The article demonstrates this, using the case of poetry by two outstanding poets of the present times — Eduard Mizhit, a Tuvan and Bakhyt Kairbekov, a Kazakh. We focus on such Russian-language poetic texts by E. Mizhit as his collections “The Voice of Silence”, “The Drops of Eternity”, “Roots”, “Facets of Loneliness”, “The Transient”, “Through Oneself”, “The Abyss”, and “Beads of Centuries”, and B. Kairbekov’s "Behind the Lattice of Words", "Mysterious Holidays", "Against the Sun", and "Parts of the Whole".

Both poets share a reflective tone which finds its expression in specific genres: ozhuk dazhy (a classic Tuvan three-liner) and tolgau (a genre of Kazakh literature combining contemplation and reflection). A special polycentric organization of space and time is also shared by both poets, as well as a pantheistic outlook, conditioned by the fusion of religious and worldview paradigms (from shamanism to Buddhism, from Tengrism to animism), is also important. A lyrical hero in both poetic universes is a lonely wanderer in a search of Truth, who takes on cultural masks of the Hunter and Nomad, of Baksa and Batyr.

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